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Paris As It Was and As It Is

F >> Francis W. Blagdon >> Paris As It Was and As It Is




Accordingly, when the disaster befell the theatre of the _Porte St.
Martin_, it was considered as a fortunate circumstance that the
present opera-house was just finished. The performers of the
_ci-devant Académie de Musique_ immediately established themselves
in this new asylum, which is situated in the _Rue de la Loi_, facing
the National Library, and opened it to the public under the name of
_Théâtre des Arts_. I must observe, by the way, that, in France, all
players, dancers, musicians, and every one who exercises an art, are
now styled _artistes_.

The form of this house is nearly a parallelogram: one of the shorter
sides is occupied by the stage, and the other three are slightly
curved. In general, one is ill placed here, except in the boxes in
front of the stage, and in the pit, the seats of which rise abruptly,
in the manner of an amphitheatre, from the orchestra to the first
tier of boxes. The Chief Consul has chosen for himself the stage-box,
as I believe we term it in England, on the right hand of the actors.
It is elegantly decorated with scarlet velvet, embroidered in gold.
The ornaments (I am not speaking of the scenery) are neither of
superlative elegance, nor do they display extraordinary taste. The
curtain, however, is majestic and beautiful, as well as the ceiling.

"Here," says a French author, "arts, graces, genius, and taste
conspire to produce a most magnificent, a most brilliant, and most
enchanting spectacle. Here heroes come to life again to sing their
love and their despair; here many a goddess is seen to mix with
mortals, many a Venus to descend from the radiant Olympus in order to
throw herself into the arms of more than one Anchises."--Certainly,
if splendid decorations, rich and appropriate dresses, the most
skilful machinists, the most distinguished composers, a numerous and
most select orchestra, some excellent actors, together with the most
celebrated dancers in Europe, of both sexes, constitute a brilliant
spectacle, this justly deserves that title. In these magnificent
arrangements, we see again the Grand French Opera, as it appeared in
the most splendid days of the monarchy. With the exception of the
singing, every other department at this theatre is much improved; the
only drawback that I can discover at the representation of the same
pieces, which I have often seen here before the revolution, consists
in the exterior of the spectators. Between the acts, when I transport
myself in idea to the former period, and, looking round the house,
form a comparison, I find the republican audience far less brilliant,
owing, no doubt, to the absence of that glare of diamonds,
embroidery, lace, and other finery, which distinguished the
frequenters of the opera under the old government.

The performances at the opera being, in general, more calculated for
charming the eyes and ears, than gratifying the understanding, it is,
consequently, the most frequented of any of the capital.

"-------- With the many
Action is eloquence, and th' eyes of th' ignorant
More learned than their ears."

There is, however, no piece represented at this theatre that a
stranger ought not to see, either on account of the music, or of the
spectacle and its decorations. The operas, or lyric tragedies, which,
from the number of times they have been performed, appear to have
obtained the greatest success, are those of GLUCK. The originality,
the energy, the force and truth of declamation of this great musician
were likely to render him successful, especially among the French,
who applauded the two last-mentioned qualities on their other
national theatre.

With the exception of one only, all the works of GLUCK have remained
as stock-pieces, and are played from time to time. They are five in
number; namely, _Iphigénie en Aulide_, _Iphigénie en Tauride_,
_Orphée et Euridice_, _Armide_, and _Alceste_. That which could not
maintain its ground, and consequently fell, was _Narcisse_. The
flimsiness of the poem was the cause; for the music, I am assured, is
the finest that GLUCK ever composed, and several pieces of it have
been repeatedly performed in the Parisian concerts.

The _Didon_ of PICCINI and the _OEdipe à Colonne_ of SACCHINI have
had no less success than the operas of GLUCK. They are very
frequently represented.

It may not, perhaps, be unseasonable to remind you that, from twenty
to twenty-five years ago, when the old operas of LULLI and RAMEAU
were laid aside, and replaced by modern works, two parties were
formed, which, from the name of the musician that each adopted, were
called, the one, _Gluckists_; and the other, _Piccinists_. Their
inveteracy was great, somewhat like that which, forty years before,
existed between the _Molinists_ and _Jansenists_: and few persons, if
any, I believe, remained neuter. Victory seems to have crowned the
former party. Indeed the music of GLUCK possesses a melody which is
wonderfully energetic and striking. PICCINI is skilful and brilliant
in his harmony, as well as sweet and varied in his composition; but
this style of beauty has been thought to be deficient in expression.
Truth obliges me to say, that, of PICCINI'S works, no opera is now
played but his _Didon_, and that his other productions, which, to the
best of my recollection, are _Alys_, an opera called _Iphigénie en
Tauride_, and _Pénélope_, have fallen. This was ascribed to the
mediocrity of the language; a part of an opera somewhat essential,
though no great attention seems to be bestowed on it. But if people
here are not very difficult as to the style of the language, they
require at least an action well conducted and interesting. When the
piece is of itself cold, it is not in the power of the finest music
to give it warmth. The _OEdipe à Colonne_ of SACCHINI is reckoned by
many persons the _chef-d'oeuvre_ of operas. That able musician has
there excelled in all that is graceful, noble, and pathetic; but it
exhibits not the tragic fire that is to be found in the works of
GLUCK. SACCHINI has left behind him another composition, called
_Arvire et Evéline_, which, though a cold subject, taken from the
history of England, is held in estimation.

At this theatre are also performed what the French term _opéras de
genre_. These are a species of comic opera, in which is introduced a
great deal of show and bustle. _Panurge_, _La Caravanne_, _Anacréon_,
_Tarare_, _Les Prétendus_, _Les Mystères d'Isis_, &c. are of this
description. The music of the first three is by GRÉTRY. It is
considered as replete with grace, charm, and truth of expression. The
poem of _Panurge_ is an _estravaganza_. Those of the _Caravanne_ and
of _Anacréon_ are but indifferent. It required no small share of
talent to put words into the mouth of the charming poet, whose name
is given to the last-mentioned piece; but M. GUY appears not to have
thought of this. _Tarare_ is a tissue of improbabilities and
absurdities. The poem is frequently nothing but an assemblage of
words which present no meaning. It is a production of the celebrated
BEAUMARCHAIS, who has contrived to introduce into it a sort of
impious metaphysics, much in fashion here before the revolution. The
music is by SALIERI; it is very agreeable. The decorations are
brilliant and diversified. The piece is preceded by a prologue (which
no other opera has) representing the confusion and separation of the
elements; and at the time of its first appearance, I remember it was
said that chaos was the image of the author's head.

_Les Prétendus_ is a piece in one act, the plot of which is weak,
though of a gay cast. The music is charming. It is by LE MOYNE, who
died a few years ago, at an early period of life. _Les Mystères
d'Isis_, which is now the rage, is an incoherent parody from a German
opera, called _the Enchanted Flute_. To say that the music is by
MOZART, dispenses me from any eulogium. The decorations are extremely
beautiful and varied: a scene representing paradise is really
enchanting.

After speaking of lyric tragedies, I should have mentioned those
which are either in rehearsal, or intended to be brought forward at
this theatre. They consist of _Hécube_, _Andromaque_, _Sémiramis_,
and _Tamerlan_. Although none of them are spoken of very highly, they
will, in all probability, succeed in a certain degree; for a piece
scarcely ever has a complete fall at the opera. This theatre has so
many resources in the decorations, music, and dancing, that a new
piece is seldom destitute of something worth seeing.

What, at the present day, proves the greatest attraction to the
opera, is the dancing. How bad soever may be a piece, when it is
interspersed with fine ballets, it is sure of having a certain run.
Of these I shall say no more till I come to speak of that department.

The weakest part of the performances at the opera is the singing. All
are agreed as to the mediocrity of the singers at this theatre,
called _lyric_. No one can say that, within the last ten or twelve
years, they are improved. To any person fond of the Italian style, it
would be a sort of punishment to attend while some of the singers
here go through a scene. On the stage of the French comic opera, it
has been adopted, and here also a similar change is required; but
with the will to accomplish it, say its partisans, the means,
perhaps, might still be wanting. The greater part of the old
performers have lost their voice, and those who have not, do not
appear to have sufficiently followed the progress of modern taste to
be able all at once to embrace a new manner.

The first singer at the opera, in point of talent, is LAÏS. He even
leaves all the others far behind him, if we consider him only as a
singer. He is a _tenore_, according to the expression of the
Italians, and a _taille_, according to that of the French: in the
_cantabile_ or graceful style, he is perfect; but he ought to avoid
tragic pieces requiring exertion, in which his voice, though
flexible, is sometimes disagreeable, and even harsh. Besides, he is
absolutely deficient in nobleness of manner; and his stature and
countenance are better suited to low character. Indeed, he chiefly
performs in the operas termed here _opéras de genre_, such as
_Panurge_, _La Caravanne_, _Anacréon_, and _Les Prétendus_. In these,
his acting is correct, and his delivery judicious.

LAÏS is no less famous for the violence of his political opinions
than for his talents as a singer. At the period when the abettors of
the reign of terror were, in their turn, hunted down, for a long time
he durst not appear on the stage. He was accused by his brother
performers of having said that the opera would never go on well till
a guillotine should be placed on the stage. This stroke was levelled
against the greater part of the actors and the musicians belonging to
the orchestra. However, as LAÏS could not be reproached with any
culpable _actions_, he found zealous defenders, and the public
sacrificed their resentment to their pleasure. This lenity appears
not to have had on him the effect which one would imagine. He still
possesses every requisite for singing well, but seems indifferent as
to the means of pleasing, and exerts himself but little.

If singers were esteemed by seniority, and perhaps by employment,
LAINEZ would be reckoned the first at this theatre. He is a
counter-tenor, and performs the parts of a lover. His voice is very
strong, and, besides singing through his nose, he screams loud enough
to split one's ears. I have already observed that the ears of a
tasteful amateur would sometimes be shocked at this theatre. The
same remark, no doubt, was equally just some time ago; for J. J.
ROUSSEAU, when he was told that it was intended to restore to him
the free admission which he had enjoyed at the opera, replied that
this was unnecessary, because he had at the door of his
country-residence the screech owls of the forest of Montmorency.
Those who are partial to LAINEZ think him an excellent actor. This
means that he has some warmth, and bestirs himself like a demoniac.
When the heroes of the opera wore hair-powder, nothing was more
comic than to see him shake his head, which was instantly enveloped
in a cloud of dust. At this signal the plaudits burst forth with
great violence, and the would-be singer, screaming with still
greater loudness, seemed on the point of bursting a blood-vessel.

It is reported that, not long since, a great personage having sent
for the _artists_ belonging to the opera, said to them, addressing
himself to LAINEZ, "Gentlemen, do you intend to keep long your old
singers?"[2] The same personage then turning round to the dancers
added, "As for you, gentlemen of the dance, none but compliments can
be paid to you."

LAFORÊT who (as the French express it), _doubles_ LAINEZ, that is,
performs the same characters in his absence, has little more to
recommend him than his zeal. His voice is tolerably agreeable, but
not strong enough for so large a house. As an actor he is cold and
aukward.

Next comes CHÉRON: he sings bass. His voice is strong, and the tone
of it sonorous and clear. However, it is thought to be weakened, and
although this singer sometimes throws out fine tones, he is
reproached with a want of taste and method. He is a sorry actor.
Indeed, he very seldom makes his appearance, which some attribute to
idleness; and others, to his state of health. The latter is likely to
be occasionally deranged, as in point of epicurism, he has as great a
reputation as our celebrated Quin.

ADRIEN, who _doubles_ CHÉRON, is an excellent actor; but his means do
not equal his intelligence. He presents himself wonderfully well; all
his movements, all his gestures have dignity, grace, and ease. There
are, for the same employment, other secondary singers, some of whom
are by no means backward in exertion, particularly DUFRESNE; but an
impartial observer can say nothing more in their commendation.

Let us now examine the qualifications of _Mesdames les cantatrices_.

The first female singer at the opera is Mademoiselle MAILLARD. By
means of a rather pretty face, a clear voice, and a cabal of
malcontents (for there are some every where and in every line), she
obtained loud applause, when she first appeared some years ago as the
rival of the charming ST. HUBERTI. Since the revolution, France has
lost this celebrated actress, and probably for ever. She emigrated,
and has since married the _ci-devant_ Comte d'Antraigues. Although
she had not a powerful voice, she sang with the greatest perfection;
and her impressive and dignified style of acting was at least equal
to her singing.

At the present day, Mademoiselle MAILLARD has succeeded Madame ST.
HUBERTI, and is, as I have said, the first singer, in point of rank.
She is become enormous in bulk, and as the Italians express it,
_canta a salti_. Her powerful voice fills the house, but she is not
unfrequently out of tune: her declamation is noisy; while her
masculine person gives her in all her motions the air of a Bacchante.
These qualities, no doubt, recommended her to the notice of
CHAUMETTE, the proclaimer of atheism, under whose auspices she more
than once figured as the goddess of reason. She has, nevertheless,
occasionally distinguished herself as an actress; and those who love
noise, admire the effect of her transitions. But I give the
preference to Mademoiselle LATOUR, who has a melodious pipe, which
you will probably hear, as it is said that she has not retired from
the stage, where she frequently reminded the public of the
fascinating ST. HUBERTI, particularly in the character of _Didon_.

Since the prolonged absence of Mademoiselle LATOUR, Madame BRANCHU
_doubles_ Mademoiselle MAILLARD. She is of much promise both as a
singer and actress. Her voice is agreeable, but not extensive.

Mademoiselle ARMAND is another most promising singer, who has a more
powerful organ than Madame BRANCHU, and when she has perfectly
acquired the art of modulating it, will, doubtless, prove a very
valuable acquisition to this theatre. Her voice has much sweetness,
and sometimes conveys to the ear the most flattering sounds, as its
low tones are grave without being harsh, and its high ones sonorous
without being sharp. She seems to execute the most difficult pieces
of music with considerable ease; but she is deficient in action.

Mademoiselle HENRY is strong as to method, but weak as to means, in
singing. There are several other female singers; but, in my opinion,
their merits do not entitle them to particular mention.

Twelve or fourteen years ago, the opera was much better provided with
singers than it is at the present moment. Their voices, in every line
of this department, were well-toned and powerful. They easily reached
the highest notes according to the tone given by the diapason. Since
then, the powers of most of the singers who still remain on the stage
have diminished, and those called in to supply the place of such as
are dead or have retired, are not near so rich in voice as their
predecessors. The diapason, however, has remained the same: to this,
in a great measure, may be attributed those shrieks and efforts which
disgust foreigners, unaccustomed to the French method. At the
Parisian comic opera, in consequence of a remonstrance from the
principal singers, their diapason has been lowered half a tone; and
it seems necessary to examine whether the same rule be not applicable
to this theatre.

The choruses, notwithstanding, are now given here with more effect
and precision than I ever remember at any former period. In these,
the ear is no longer offended by exaggerated extensions of the voice,
and, on the whole, they are sung in a grand and graceful style.

The orchestra, which is ably led by REY, has also experienced a
manifest improvement. The principal musicians, I understand, have
been recently changed; and the first artists are engaged for the
execution of the solos, and nothing can now be wished for, either as
to the spirit and correctness of the overtures, or to the melody and
taste of the accompaniments.

The Chief Consul is said to be particularly partial to Italian music.
In consequence, KREUTZER, a capital violin, and also a celebrated
composer, has been dispatched to Italy by the French government, for
the express purpose of selecting and purchasing the finest musical
compositions which can be procured in that land of harmony. Thus, the
advice given by ROUSSEAU, in his _Dictionnaire de Musique_, has at
length been followed.

So much for the singing department of the opera, which, as you see,
with some exceptions, is but indifferent: in my next, I shall speak
of the dancing.

[Footnote 1: Since the above letter was written, this Lyric theatre
has changed its name for that of _Théâtre de l'Opéra_. This seems
like one of the minor modifications, announcing the general
retrograde current setting towards the readoption of old habits; for
the denomination of _Théâtre des Arts_ was certainly unobjectionable,
as poetry, music, dancing, painting, and mechanics, concurred in
rendering more pompous and more surprising the effects which a
fertile genius, when governed by reason, might assemble here for the
gratification of the public. The addition of the words _et de la
République_ was probably given to it from patriotic zeal, at the time
when the _Royal Academy of Music_ was abolished by the decree which
annihilated all similar monarchical institutions.]

[Footnote 2: It appears that, from pique, this old opera-singer
refused to sing on Easter-Sunday last, (1802) at the cathedral of
_Notre-Dame_.]



LETTER XLII

_Paris, December 30, 1801_.

Dancing, like the other arts in France, has, during the revolution,
experienced the vicissitudes of this new order of things; but also,
like the other arts, it has made a progress equally astonishing and
rapid. However, it must not thence be inferred that dancing,
particularly theatrical, had not attained a certain degree of
superiority long before the revolution; yet a most evident
improvement has been made in it, not only by the old-established
dancers, who then seemed almost to have done their best, but by the
numerous competitors who have since made their appearance.

It is not in the power of words to convey an adequate idea of the
effect produced on the senses by some of the ballets. In lieu of
those whimsical capers, forced attitudes, vague and undefined
gestures of a set of dancers whose movements had no signification,
dancing now forms an animated, graceful, and diversified picture, in
which all the human passions are feelingly pourtrayed. Their language
is the more expressive from its being more refined and concentrated.
In the silence of pantomime, recourse is had to every ingenious
gesture, in order to impart to them greater force and energy; and, in
this mute play, restraint seems to kindle eloquence. Every motion has
its meaning; the foot speaks as well as the eye, and the sensations
of the mind are expressed by the attitudes of the body. A delicate
sentiment is rendered with the rapidity of lightning. Love, fear,
hope, and despair, change countenances, and say every thing that they
wish to say, void of deceit, as if falsehood no longer existed as
soon as the mouth ceased to open.

It should not be forgotten that it was NOVERRE who first brought
about in France this reform in what were till then called ballets,
without deserving the title. He banished wigs, hoop-petticoats, and
other preposterous habiliments, and, by dint of superior genius,
seconded by taste and perseverance, introduced those historical
pictures, replete with grace, expression, and sentiment, in the room
of the flat, insipid, and lifeless caricatures, which had hitherto
usurped admiration.

But, though NOVERRE, and, after him, the GARDELS, introduced on the
Parisian stage the pantomimic art in all the lustre in which it
flourished on the theatres of Greece and Rome, yet they had been
anticipated by HILWERDING in Germany, and ANGIOLINI in Italy, two
celebrated men, who, in a distinguished manner, laid the foundations
of a species of modern entertainment, before known only by the annals
of ancient history. Those who have trod in their steps have
infinitely surpassed them in attractions, and, by their scientific
compositions, acquired a justly-merited reputation.

GARDEL, who, for the last fifteen years, has been the first dancer at
the opera, shews himself but seldom. After having, during that long
period, received the warmest and best deserved applause, either in
the execution of the noble style of dancing, or in the composition of
ballets, he seems now to have devoted himself almost exclusively to
the last-mentioned branch of his art, and the perfection to which he
daily carries it, may well compensate the public for the privation of
his talents in the line of execution.

The most famous pantomimical ballets or _ballets d'action_ (as they
are styled) now represented here, are _Psyché_, _Télémaque_, _Le
Jugement de Paris_, _Mirza_, and _la Dansomanie_. The impression to
which I have before alluded, is particularly observable during the
representation of the first three (composed by GARDEL), the charm of
which would be weakened by any attempt at description. No spectator,
be his disposition ever so cold and indifferent, can behold them
unmoved. Every effort of human skill and invention is exerted to
excite astonishment and admiration. The _ensemble_ of the _spectacle_
and decorations correspond to the fertile genius of the author. It is
the triumph of the art, and there may be fixed the limits of
pantomime, embellished by dancing. Nothing more perfect than the
rapid change of scenery. Meteors, apparitions, divinities borne on
clusters of clouds or in cars, appear and disappear, as if by
enchantment, exhibiting situations the most picturesque and striking.

BOULAY, the principal machinist, is, perhaps, the first in his line
in Europe. In the opera of _Armide_, I have seen him raise into the
air nearly one half of the theatre. He executes whatever is proposed
to him, no matter how difficult, and he is well seconded by the
painters and draughtsmen. The new decorations display much taste, and
produce an effect truly wonderful.

Had I not already made the remark, you might have concluded from the
general tenour of my observations, that the dancing forms the most
brilliant part, of the _spectacle_ at this theatre, or, in other
words, that the accessory prevails over the main subject. It is no
longer, as heretofore, a few capital dancers of both sexes who form
the ornament of the opera. Almost all the competitors in this line
are so many _virtuosi_ who deserve and equally participate the
plaudits of the public. There is not among them any mediocrity. The
establishment of the _école de la danse_ is for this theatre a
nursery, where Terpsichore finds, in great numbers, the most
promising plants for the decoration of her temple. It is saying
little to affirm that nothing equals the superiority of talents of
this description which the opera comprehends at the present moment.
These advantages, I understand, are chiefly due to GARDEL. He has
given the example and the precept, and, through his guidance, the art
of dancing is become doubly captivating.

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